Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
好久没看这样温暖的合家欢电影了。有爱真好啊！
喜欢它只因为终于有gay的圣诞电影了，就像所有异性恋电影为了应景节假日一样，俗套的情节，没有惊喜的剧情，但我还是看着好幸福哦，多希望有一天现实生活中就像Peter的家庭一样，家里所有人都帮忙撮合家里的gay relative，太美好了！
一切看上去都很美，但又很假（虽然Netflix的圣诞电影都这个d样）。。。我要是有这么多家人对我的私生活指手画脚，我早翻脸了🙄 Mind your own f**king business. 🙄
给这部打个高分～冬天就应该在被窝里看甜甜的电影，没有觉得黑白配有什么违和感，节奏也很舒服，总之有被甜到
一起看的室友给了5⭐️，我不理解，我给-1⭐️
啊，浪费了生命的一个半小时，求求不要这么老套的竹马必胜好不好
老套的圣诞爱情故事，Nick我真的好想占有他，太完美了
"Falling in love with my best frd" kind of cliche, but definitely the Xmas vibe we needed as of now.
Netflix倒是每年一部LGBT圣诞电影，越来越Open的社会，非异性恋也会逐渐被接受。虽然自己是直女一枚，但仍然觉得在允许与接受范围里，选择“爱之所向”，没有问题。
哈哈哈哈哈哈哈哈哈的浪漫剧情，合不合理我在乎吗？
小黑挺可爱，写真那段开始get到他了
本来对一部圣诞电影不应该有太高的要求，但是很多桥段还是俗套到让人无语，况且去年已经有两部圣诞同影有着几乎完全一样的故事线，《圣诞速配》至少还有这比这部更加深层次挽救圣诞传统的故事线，而这部就直接变成家庭催婚记了，还在演员们表演都还挺不错，喜剧效果也都有了
温情幸福又轻松
估计大家都知道有个词叫做“不落俗套”，但是我相信这个编剧肯定不知道。同样是“贺岁档”，而且主题内容基本相同，《圣诞速配》的剧情都比这部有深度。亮点可能是演员帅气、摄像机拍摄效果比较好吧。
这实在是；清水一点不要紧但也确实没有chemistry啊
因为没看完所以不评价，不在节日气氛里看还是有点太热闹太黏糊了，以及男性浓度太高——关注LGBT人群请多出百合片！
一大家子人互相包礼物，拆礼物也是real温馨了，其实个人觉得这种小仪式感还是要有的，哪怕只是一块小黑板，一句吐槽的话，也够温暖整个冬季。
这一家人都很可爱啊
太难看了。网飞是不是以为拍什么用户都照单全收？应季的电影一年比一年难看……全员挤在一起念台词，完全没有剧情可言，没有一个喜剧的演员存在，强行搞笑实在难看。
We need love actually (gay version) 也没比love actually差哪去 毕竟love actually也不好看 但是不好意思 我想让Peter跟James在一起 请Nick老么儿实的做姐妹
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